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Gaelic Literature of the Traditional poetry and song: collectors and collections |
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This page is
best viewed on a desktop or laptop PC MACLEOD,
Kenneth (1871-1955) During his long life the Rev. Kenneth Macleod was in
contact with most of the well-known names in the Gaelic literary world, but
perhaps he is best known as the Gaelic collaborator of Marjory
Kennedy-Fraser). Professor Donald
MacKinnon proposed him as collaborator to Mrs. Kennedy-Fraser and from the
late spring of 1908 he worked with her on the four volumes of Hebridean song series (see: The Kennedy-Fraser
Collection). The nature and
results of that collaboration are discussed in Marjory Kennedy-Fraser’s
autobiography A Life of Song (Kennedy-Fraser
1929:144-153), in Ethel Bassin’s The
Old Songs of Skye: Frances Tolmie and her Circle (Bassin 1977:127-143) and in the
introduction to T. M. Murchison’s edition of the prose works of Kenneth
MacLeod (Murchison
1988: xxxiii-xxxix). On p. 239 of
an article in Scottish Gaelic Studies (12:220-265)), Hamish Robertson
quotes Kenneth MacLeod’s own statement that his versions of songs were put
together with a view to harmonious effect.
This accords with the picture which emerges
from the first three sources quoted, that the Gaelic lyrics contained in Songs of the Hebrides, apart from
those actually listed as Kenneth MacLeod’s own compositions, are the result
of a very considerable degree of reworking of traditional materials. They appear too to be very much
subordinate to Mrs. Kennedy-Fraser’s musical arrangements, having what Ethel
Bassin describes as a ‘period charm’ (Bassin 1977:143). Ethel Bassin appears to believe that Kenneth MacLeod
was a willing collaborator in Marjory Kennedy-Fraser’s treatment of
traditional Gaelic song, a view which would seem to be supported by Hamish
Robertson’s quotation of Kenneth MacLeod’s own words mentioned above. However, in a review of The Old Songs of Skye Professor Colm Ó
Baoill quotes a letter from the late J. L. Campbell in which he told him that
in fact Kenneth was unhappy with what Mrs. Kennedy-Fraser was doing, but was
persuaded by Donald MacKinnon that if he did not stay on someone less suitable might take
his place (Scottish Gaelic Studies,
12, Pt. 1:142). However, in his
introduction to his edition of the prose works of Kenneth MacLeod the Rev. T.
M. Murchison gives extensive quotations from Kenneth MacLeod’s own comments on the collaboration
and these seem to indicate that whatever doubts Kenneth may have had in the beginning, he and Mrs. Kennedy-Fraser were eventually in
accord concerning their approach to the work. Ethel Bassin , when
discussing the reworking of ‘A’ Bhean Eudach’, which appears as ‘Sea-Tangle’ in Songs of the Hebrides (Kennedy-Fraser and MacLeod) 1917:55) writes that the motif of the
entanglement of hair and seaweed does not occur in the original song and that
it is an invention of Kenneth MacLeod’s (Bassin 1977:139-140). Miss Bassin appears to have been unaware of
an apparently independent tale with the hair and seaweed motif related by the
Rev. Tormod Domhnallach (An Gaidheal Og 7:19-20). The following is a list of poems and songs collected
and edited by the Rev. Kenneth MacLeod which are relevant to this
bibliography and which do not appear in the Songs of the Hebrides series. ____________ Carmina Gadelica. Vol. 4. Edited by James Carmichael Watson. ‘A’ bhricein bhallaich’. pp.
366-367. A poem based upon the legend of a
wise, all-knowing troutling. I suspect that it may have been composed by
Kenneth MacLeod, rather than having been collected by him. There are five quatrains with a parallel
English translation. ____________ An Deò-Gréine, 7 (1911-1912) ‘Brataichean na Feinne’, pp. 93-94. An Ossianic
ballad noted by Marjory Kennedy-Fraser from the singing of Kenneth MacLeod. The text is closely related to that of a
ballad, ‘The Flags’, in J. F. Campbell’s Leabhar na Feinne, Vol. 1 (Campbell 1872:74). However, the Leabhar na Feinne version does not have the
refrain of the Rev. MacLeod’s version.
Kenneth MacLeod’s version of ‘Brataichean na
Feinne’ was also published in Orain a’ Mhoid IV (Glasho:
MacLabhruinn ‘s a Mhic, n.d., pp. 8-9). There are thirty-six lines
(excluding the refrain) beginning with ‘Arsa Manus,
Righ Lochlainn’.
The tune is given in tonic sol-fa notation. ____________ Celtic Review, 1 (1904-1905). ‘Oisean an
Deigh na Feinne’, pp.
172-174. A brief prose tale from Eigg which
contains a few verse fragments. ____________ Celtic Review, 3 (1906-1907). i ‘An Tràigh-shìolag’, pp. 332-334. Kenneth learnt what he describes
as this ‘weird dirge’ from an old woman, Catriona Neill Bhàin,
when a schoolboy in Eigg. It tells of
a ghostly encounter with a woman mourning the loss of her son in a
shipwreck. There are thirty-one lines,
beginning with ‘Oidhche dhomh ‘s mi ‘san tràigh-shìolag’. ii ‘Gaisgeach na Sgéithe Deirge’, pp. 257-266, 346-359. This prose tale is a conflation of
an Eigg and a Colonsay version. Among the verse ‘runs’ there are two from
Eigg. The first has eight lines,
beginning with ‘Sheinneadh e puirt
is uirt is cruitean’ (pp.
257-8). The second has four lines,
beginning ‘Is leamsa an long’ (p. 260). iii ‘Cha robh cleas a dheanadh sgiataiche no sgoitiche’, p.
358. Nine lines of a verse ‘run’ from
an unnamed Eigg tale, with an English translation. ____________ Celtic Review, 4 (1907-1908). i ‘An Iubhrach
Ur’,
p. 28. A song from Trotternish,
where it had been used as a waulking song. Twenty-seven lines beginning ‘Thug an iubhrach ùr an
cuan oirr’ ‘. The lines
are arranged in verses of irregular length which correspond to the thematic development of the
song. iii ‘Tàladh an Leinibh
Hearaich’, p.
166. A MacLeod of Harris lullaby which
Kenneth MacLeod got from his aunt, Janet MacLeod of Skye and Eigg. Thematically, it is similar to ‘Ailein Duinn’ with its lament
for three brothers lost at sea. For
Kenneth MacLeod’s involvement with ‘Ailein Duinn’, see The Old
Songs of Skye (Bassin 1977:132-137). ‘Tàladh an Leinibh
Hearaich’ also shows some thematic similarity with
a song in the first volume of Hebridean Folksongs (Campbell and Collinson 1969:154-157),
as well as sharing the same opening line, ‘ ‘S fhada
bhuam a chì mi ‘n ceò’. ii ‘Nighean Righ Eireann’, pp. 313-315. A collation of four different
versions collected by Kenneth MacLeod in Eigg, Skye, Uist,
Lorn and Morvern. There are eighty lines beginning with ‘Chaidh mi shuirghe air nighinn Righ Eireann’, and a recurring refrain, ‘Chailin
big, an stiùir thu mi’. It would
appear to be related to ‘Cailin ó chois tSiúire mé’, an Irish song, probably of sixteenth century origin,
which in a metamorphosed form has become embedded in the Scottish Gaelic
tradition (Thomson 1977: 63;
Campbell and Collinson 1977:
206-209). iv ‘Teachd Leòid’, pp. 348-351. The subject of this heroic ballad
is Leod, the thirteenth century eponymous ancestor
of the MacLeods.
Kenneth MacLeod got it from his aunt, Janet MacLeod. He writes that while it evidently contains
various accretions from sources such as
‘Laoidh an Amadain Mhòir’,
most of the original ballad seems to have been lost in the course of
transmission. The language in this version of
the ballad is modern Scottish Gaelic, with no obvious archaisms. Whether this indicates editing on Kenneth
MacLeod’s part, or a late date of composition is difficult
to determine. The omposition of ‘Ossianic’ verse on a large scale took place in the
eighteenth century (Thomson 1977:105). There are sixteen quatrains,
beginning with ‘Latha do ‘n Ridire
Leod’. ____________ Celtic Review, 5 (1908-1909). ‘Urnaigh-mhara Shìl-Leòid’, pp. 147-148. A verse-prayer, described by
Kenneth MacLeod as ‘heathenish’, which he learnt
from his aunt, Janet MacLeod. ____________ Celtic Review, 7 (1911-1912). i ‘Duan
na h-Aoigheachd’, pp. 50-51. A rune of hospitality, taken down
by Kenneth MacLeod from his aunt, Janet MacLeod. Twelve lines, beginning with ‘Chunnaic mi coigreach an dé’. ii ‘Duan an Deòiridh’, p. 51. A pilgrim’s rune, taken down by
Kenneth from Finlay MacCormick and Jean MacKay of
Eigg. Twenty-seven lines, beginning
with ‘A Dhé nan Dùl …’ ____________ Gairm, 34 (An
Geamhradh 1960). i ‘Tàladh’, p. 144. A lullaby learnt by Kenneth from Curstaidh NicCormaig in Eigg in
1889. Three four-line verses,
beginning with ‘Caidealan m’ eudail
…’, with the tune in staff notation. ii ‘An Luadh Sìthe’, p. 145. A vocable
refrain and two three-line verses beginning with ‘Buidh’
air an uain’ cuiream’. The tune
is given in staff notation. ____________ ‘Diùran’. See
individual entry for this song. ____________ ‘Seathan Mac
Rìgh Eireann’.
See individual
entry for
this song. ____________ ‘Tàladh Mhic Leòid’. See individual entry for this song. ____________ |
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A-C D-Domhnall Domhnallach-Dz E–G H–L M–MacA MacB–MacC MacD MacE-MacK, MacLa-MacLeod MacLeòid A-H MacLeòid I-Z MacM-MacN MacO-MacZ M N O-Q R-Z Annie Arnott An Cabairneach Carmina Gadelica
Catriona
Dhùghlas Tormod Domhnallach Marjory Kennedy-Fraser Angus Lamont K. N. MacDonald Johan MacInnes Hugh MacKinnon Calum I. MacLean Sorley MacLean Kenneth MacLeod Niall MacLeòid Màiri
Nighean Alasdair Cairistiona
Mhàrtainn Alexander Morison Kenneth Morrison Angus Nicolson Portree
HS Magazine Lachlann
Robertson Frances Tolmie I Frances Tolmie II Somhairle
MacGill-Eain The New Poetry Books
etc: A-L Books etc: MacA-MacL Books etc: MacM-Z Periodicals, MSS, AV |
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© Sabhal Mòr Ostaig 2018